Concept development WUT.zur.Heim.AT


Concept development with Emel Heinreich's Cocon Culture for the trilogy da.Heim.AT.los, part II called WUT.zur.Heim.AT. Having met in theater, Emel invited me to listen to her ideas and thoughts for developing the play. I assisted her in clearing the basic interest and first draft texts, as well as writing the concept.



Model for Kurt Ingerl

Scannen0001 1

"Eng geschnuert", so liebte Kurt Ingerl die Frauen. Mich wollte er gleich in Gips giessen, so kam ich auf den Tisch. Im Hintergrund Kurt´s Figuren und der Assistent.

"Tight laced ladies", this was, what Kurt Ingerl liked. He wanted me in plaster cast.

Sybil and Kurt

Kurt Ingerl: 

Director's Assistant for Politik Mich Doch Am Arsch

Scene "Zweit im Bild: The Known Unknowns"

Ein intelligentes Theaterstück zum Thema Politisierung elegant inszeniert von Asli Kislal, ist POLITIK MICH DOCH AM ARSCH ein gesellschaftskritisches und transkulturelles Stück der multinationalen Gruppe DASKUNST. Videos, Animationen und futuristische Visualisationen begleiten die Geschichte von Edmund und Edwin, Zwillinge, die bereits in Teil I des Sequels "Kultur mich doch am Arsch" hervortraten zu fragen: "Und uns haben sie eingesperrt?" Nachdem sie aus der Anstalt für geistig Abnorme entlassen wurden, betreut die schizophrene Krankenschwester ihr Leben in Freiheit, in einem alten Haus voll merkwürdiger BewohnerInnen. Ein asylwerbender Wissenschafter — 481, eine Russin, der Sozialarbeiter Süleyman, und ein zeitreisendes Wesen tauschen ihr Sein aus, bevor das Axiom, das alle Energieprobleme der Menschheit löst, in Massenproduktion geht.

An intelligent play on the subject of politicization, elegantly staged by Asli Kislal. Politik Mich Doch Am Arsch critisizes society in a transcultural manner, produced by the multinational group DASKUNST. Videos, animations and futuristic visualizations accompany the twins Edmund and Edwin's story, who were asking in part one of the sequel Kultur Mich Doch Am Arsch already: "And they locked us up?" After being released from mental examinations, the schizophrenic nurse takes care of her life in freedom in an old house full of strange inhabitants. An asylum-seeking scientist - 481, a Russian, the social worker Süleyman, and a time travelling being, exchange their existence experience before the axiom, which solves all energy problems of humanity, goes into mass production.



MQ: Liu Xiabo - Reading


es regnet
ein regentropfen geht durch die sonne
ich bin an den rand der welt gedrängt
ich bin noch im schreck gefangen
bin gezwungen zu gehorchen
ein regentropfen ist nicht grausam
doch seine sanftheit birgt gefahren

        liu xiabo, translation: martin winter

207392 10150182650894924 8030376 n

Sybil reading for Liu Xiabo, Dissident and Nobel Award Winner, at MQ Vienna. IG Authors, fotos by Fich



Sybil in Muzak

Of course, my biodaddy Otti and his friends, not only the Barrelhouse Jazzband, taught me music. I was too small to hold and instrument, so basically I learned singing and dancing. Around seven I could hold a guitar and for the equilibrium in societal talk, I learned classical guitar. I attented school choire in high school.








Paintings I do since I speak. I started to paint, when i realized I cannot speak to my daddy Otti all the day, so when he was out, I painted what happened during the day. I never thought much about it, I simply painted. I was looking at picture, and compared them to mine. I went to museums, and tried to find out, how this images come into this world. I admired synaesthet Wassily Kandinsky and I was taught I can do something like him: Synaesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. It is the easiest explanation. It means, when I open the fridge - tactile sense - it smells - olfactory sense - yellow, whereas yellow is connected to a specified feeling watching yellow/light like the sun. Hands were a topic always. I stopped painting at a young age, coz it didn't bring me money. 



Throughout The World 




Jack (ECollage Sybil Amber, 2007) 



Joni (ECollage Sybil Amber, 2007) 

Acting & Performing

After my mother's pass away and some clubs visits, I concluded, that acting would be an intersting job to do. Muzak I learned anyway, but in my childhood I wished to act. I was looking around for a teacher for two years or so, then I found Edgar Fell and Method Acting. I trained for approximately three years and The Method was best choice for me. It worked. Suddenly, I knew, acting works for me. I trained each day, I went to gym, and 2001 moved to Hollywood, L. A., C. A., U. S. A. 

BurgtheaterCasting Burgtheater


Commercial Speaking CD 


The Pillars Of The Earth, 2009 

Free Dance Concept

Free Dance Concept

Idea and inspiration: Onipaa Jaisu, Otti Kitzler & Sybil Amber © 2011

Dating back to the sixties of the 20th century, free dance was developed by Otti and me. According to the concept of free jazz, namely to abandon all learned and acquired knowledge by letting the heart and the body remember, free dance is a leaning on all known movements combined by a dancing individual according to music. Stressing stochastic interpretation of bodily expression, free dance first of all means to gather profound knowledge of one’s own muscles, sinews, or nerves, as well as gaining experience in moving by learning how to induce a physical response to the rhythms heard, sounds, melodies, chords, noises – in short: everything heard and felt.

Basically it is not possible to lose rhythm, but of course it is. I advise to free dancers to play an instrument, like a guitar or violin, or a piano, percussion, congas, drums – it will shape one’s individual style, always. Free dance means to feel vibrations, odors, all apperceptions on a moment-to-moment basis and it signifies to enqueue each of these elementary dance moments into a flow of a dancer's mind and feel determined moments. Free dance is a practice of interpretation as is Jazz (free jazz, farmers’ jazz, church jazz, paint jazz, talk jazz, etc.). Free dance needs a lot of concentration and it should produce verve. It is very important to let the body do what it wants for music on a daily basis, for at least ten minutes a day. [...] For now, I refuse to go into theory. Free dance is always unique and bound to an individual's bodily instrument. Practise!

© 2011



ECollages Concept
Idea by Sybil

ECollages are digital collages produced from fotos or any other picture and text. 


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